Sebura&Gartelmann: Bonded exhibition catalog

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deeply valuable for us and being a part of artist communities, right? That there’s a support in artist communities that is kind of unparalleled in the same way that it feels like going to school and the studio mates you have at school, it’s like that same supportive environment. And so that’s been a really rich place for us to be making and to have access to. AG: Yeah, I also think that Jonas leaving Chicago—moving away—us ending up not being in the same place was actually probably the most important thing that happened in our practice in a lot of ways. Because up until that moment, we had started tying into the video work, but we had really fallen into this way of making where we would get a project, and it would kind of fall within a certain set of parameters. We wouldn’t really have to think outside of what we had really dialed in as a thing—and the thing might have looked different than the thing before but essentially, it was the same thing over and over again. And we were both feeling kind of stuck in that and frustrated with that, and then he moved, and we couldn’t make that kind of work anymore, just because of the nature of proximity. Neither of us made anything for six months. It felt super traumatic. Super, super traumatic. I mean, we have been working non-stop for two straight years, just churning out work. All of a sudden, it was just like, “We’re not in the same space anymore. How do we do this?” It was a six month period where we did nothing even in our personal studios, and I think that that moment of processing radically shifted the way that we thought about our practice. And also I think that in a lot of ways it really made us both realize that it was a priority as well, that it felt important to continue it because we easily could have just been like, “Eh, I don’t know.” JS: “It’s not convenient.” AG: “It’s not convenient, let’s not do it anymore.” But I think that it was this moment that really galvanized the studio practice in a way that has allowed us to maintain it for 10 years. 40
“We don’t disagree on stuff because it’s about supporting each other in this way that we don’t even have to talk to do that.” - Alex <strong>Gartelmann</strong> & Jonas Sebura 41
Page 1 and 2: SEBURA&GARTELMANN onded
Page 3: SEBURA&GARTELMANN: Bonded
Page 6 and 7: “Male intimacy, friendship, and v
Page 9 and 10: “Through acts that employ risk, d
Page 11 and 12: Sebura&Gartelmann’s work contains
Page 13 and 14: identifications of male culture, ex
Page 15 and 16: As Gartelmann makes progress toward
Page 17 and 18: Finger Sew draws attention to an ae
Page 19: strength and dominance. What is off
Page 22 and 23: Gum Chew 2020 | Digital Video (12:4
Page 24 and 25: Finger Sew 2019 | Digital Video (2:
Page 27 and 28: “Their raw ability to express the
Page 29 and 30: Alex Gartelmann: Yeah no problem, S
Page 31 and 32: adult being able to look kind of re
Page 33 and 34: Q. How do you feel your collaborati
Page 35 and 36: JS: I can’t stand being around th
Page 37 and 38: the limits of the ideas are or the
Page 39: JS: I think that there’s kind of
Page 43: About Design Thinking for Exhibits

Sebura&Gartelmann: Bonded exhibition catalog

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